Floyd Dell

"In a word, the home is a little dull. When you have got a woman in a box, and you pay rent on the box, her relationship to you insensibly changes character. It loses the fine excitement of democracy. It ceases to be companionship, for companionship is only possible in a democracy. It is no longer a sharing of life together—it is a breaking of life apart. Half a life—cooking, clothes, and children; half a life—business, politics, and baseball. It doesn’t make much difference which is the poorer half. Either half, when it comes to life, is very near to none at all.Of course, this artificial distinction does not strictly obtain in any particular marriage. There is an attempt to break it down. It is an honourable attempt. But our civilization is nevertheless built on that distinction, In order to break down that distinction utterly, it will be necessary to break down all the codes and restrictions and prejudices that keep women out of the great world. It is in the great world that a man finds his sweetheart, and in that narrow little box outside of the world that he loses her. When she has left that box and gone back into the great world, a citizen and a worker, then with surprise and delight he will discover her again, and never let her go."

"Byron’s whole contribution to literature is the inculcation of an amused and amusing cynicism in regard to Human Nature. But it is a broken-hearted cynicism. He mocks because he once believed. His cynicism is the souring of a youthful love of mankind. Byron’s youth had been nourished upon eighteenth-century Utopianism. He, too, once believed in man; and his cynic humor is the in which he disguises his indignation and chagrin at the betrayal of his hopes."

"One explanation for the neglect of women's part in shaping The Masses and its content may lie in an image of the magazine constructed by its chroniclers. Indeed, the extent to which historians have neglected discussion of Masses women is quite remarkable. Daniel Aaron, in his Writers on the Left (1961), devotes some twenty pages to The Masses. He deals with Eastman, Dell, and Reed at considerable length, while mentioning the founding members Inez Haynes Irwin and Mary Heaton Vorse in a single line...More recent histories redress the balance somewhat-notably Judith Schwartz's study of women of the Greenwich Village Heterodoxy club, many of whose members had ties with The Masses, and Art for The Masses, Rebecca Zurier's 1987 anthology of the work of Masses artists. Nancy Cott's frequent allusions to Masses women in The Grounding of Modern Feminism (1987) indicate how very central to that grounding to the shaping of turn-of-the-century feminist discourse Masses women were. But in many imaginations, The Masses remains the project of Max Eastman, Floyd Dell, John Reed (journalist), Art Young, and Charles Winter."

"Two editors of the Masses, Crystal Eastman's brother Max and Floyd Dell, used that journal for vigorous advocacy of feminist issues... The Masses was the only male-edited socialist journal that consistently affirmed the importance of equality as essential for the full development of the lives of both men and women. In a satiric piece, Floyd Dell took up the arguments of the antifeminists. "I thought, you see, that [women] were persons like myself. Well, they aren't. I know better now.""